As Ariadne at the Bayerische Staatsoper Munich

Meagan Miller sang the part, who arrived shortly before the performance from Vienna. And here was the major star of the evening, not only for her beautifully resonant, full and technically excellent soprano, but also in applause where she led all her colleagues.
Operaplus

Meagan Miller lent her bright jubilant soprano from the orchestra pit.
Sueddeutsche Zeitung

While [the sick Ariadne] acted the scenes, the quickly-flown-here-from-Vienna colleague Meagan Miller lent her emphatic Stauss soprano. Despite her acoustically not completely ideal location in the orchestra pit, the Soprano Savior delivered both the death longing and the intoxication of the transformation with warm luminosity.
Muenchener Merker

Meagan Miller supplied the soundtrack from the orchestra pit - radiantly done
Abend Zeitung

As Haydn's Armida - Concertgebouw Amsterdam

Meagan Miller (a last minute replacement for Eva Mei) was a fierce Armida, her intensity and musicality were more than impressive.
Operamagazine

The role of Armida is heavy. . . Originally Eva Mei was to sing, but she canceled. Now Meagan Miller stood there, a strong American soprano with a remarkably brilliant high range. She is already singing roles like Strauss' Ariadne and that was well apparent in her interpretation. Exciting drama, deeply serious.
De Verdieping Trouw

As Ariadne in Richard Strauss' Ariadne auf Naxos - Vienna Volksoper

Amazing Voice:
So the Viennese must let an American show them how one sings German roles: Meagan Miller equipped her Ariadne - now we are already in the second part, in the actual opera - not only with all of the splendor of her inexhaustable beautiful soprano in all ranges of her voice, but also sang so clearly, that one really didn't need the very palely projected supertitles at all.
Der Standard

The final premiere of this season can be called a triumph. There are many reasons for that. At the forefront: Meagan Miller in the title role. The American soprano is a marvelous Ariadne, she posesses the long arching phrases so essential to Strauss. Miller's voice is outstandingly guided, and has radiance and intimacy; in addition to all this Miller is an excellent actress. Fantastic.
Kurier

An even bigger surprise was offered in the Ariadne of Meagan Miller. The American captivated by her seamless voice with bright shining highs and a darkly grounded foundation. In addition, she presented an attractive appearance with diction that many of the German-speaking ensemble would be happy to have.
Das Opernglas

And with the first monologue of Ariadne one already knew: Here a completely large singing gift was discovered. . . She gave her European [Operatic] Debut with this Ariadne on June 7 and proved to be a large talent: a large voice with a radiant high range, and with the “Totenreich” passage positioned just between lyric and Hoch-Dramatik. One will certainly hear much more of this also visually attractive singer.
Der Neue Merkur

The smooth production also benefited from a good cast of singers, very skilled in presenting the drama . . . La Miller posesses a legato, dark and expressive soprano.
Il Giornale della Musica

Perfectly cast singers were [Maestro Axel Kober's] ideal partners . . . Meagan Miller inspired with her large warm-timbered and many-layered colorful voice.
OON

Although celebrated in her homeland, but as of yet unknown in our spheres US-American soprano Meagan Miller, together with Volksoper ensemble member Adrineh Simonian were two more singers who gave performances on the highest level, was truly a surprise.
Die Furche

The young American soprano Meagan Miller surprised as Ariadne with a beautiful Strauss-timbered soprano, strongly expressive, which grew to fulfill all the requirements of the part. That Miller looks good, is surely no disadvantage for an Ariadne.
Oper in Wien

The quality of the protagonistsis is miraculous: Meagan Miller's Ariadne is a vocal sensation.
News

New Wondervoice:
Meagan Miller sang Ariadne . . . she convinced with cutting strength in the thick Strauss textures . . . her bright soprano shone and gleamed.
Kultur

Meagan Miller sings Ariadne with dramatic expression.
Salzburger Nachtrichten

The tragedians also carried their roles: Meagan Miller transformed from the thundered-up Primadonna, negotiated not only the deathly serious opera seria sections, but also has the ability to bring about the wonderful apotheosis of this work: When Ariadne finally yields to Bacchus . . . this opera in an opera transforms into direct music hall -- a captivating, great sound event.
Wiener Zeitung

The Volksoper triumphed with even more ideally cast roles . . . The American Meagan Miller supplies a multilayered portrait of the heroine with great volume.
Kleine Zeitung

As the Countess Almaviva in Mozarts’ Le nozze di Figaro:

“As Countess Almaviva, Meagan Miller played the part with stately elegance. Her most expressive moments came in the charming letter duet with Susanna and her moving ‘Dove sono.’”
The Washington Times

“A primary source of this elegance was soprano Meagan Miller… Still in the very early stages of what promises to be a spectacular career, she has attractive stage presence, a fine sense of character and voice of unusual beauty.”
The Washington Post

“Meagan Miller was a sad, regal Countess whose ‘Dove sono’ brought tears to my eyes.”
The Baltimore Sun

“None of these difficulties affected the performance of soprano Meagan Miller, who sang the role of the Countess Almaviva with aristocratic bearing, delicate longing and quiet, digified forbearance in the teeth of the Count’s outside activities. The sheer loveliness of this Countess and the beauty of her singing in the famous arias suggested that this husband was no mere philanderer, but a genuine madman.”
The Annapolis Capitol

As Desdemona in Verdi’s Otello

“[Whatever] may have lacked, Meagan Miller, as Desdemona, made up for. Hers was an absolutely stunning performance, bordering even on the incredible. Her “Love Duet” and “Jealousy Duet” were sublime. At different times during the opera, she sang flat on her stomach and flat on her back- and still sounded full-voiced and expressive. But the real tour de force came in the final act, with the “Willow Song” and “Ave Maria” – each of which was worth the price of admission.”
The Syracuse Post-Standard

Soprano Meagan Miller was an attractive, tall and vocally secure and powerful Desdemona who sang her role with a rich tone and a great deal of vocal involvement. In the final duet of Act 1 her singing was soaring but unforced, and her part in the difficult Act 3 ensemble (much of it surprisingly uncut) was clear and forceful despite the fact that she sang much of it lying face down on the floor of the great hall where Otello had thrown her. Miller’s Act 4 Willow Song and Ave Maria were plangently sung, with the final “ave” held in an exquisite pianissimo.”
The Syracuse Journal

As Violetta in Verdi’s La Traviata

“Verdi said this role had to be sung by “a woman in the prime of her strength.” Beautiful soprano Meagan Miller qualifies. She has a liquid upper range for the coloratura passages and power and emotional depth for the dramatic scenes. . . . When Violetta is dying of consumption in the final act, Miller manages to convey the idea of mortal illness without, thankfully, too much histrionic hacking and coughing.”
The Roanoke Times

“These were some major players who came to Princeton to mesmerize the audience with both agility and vocal power. . . . Meagan Miller’s Violetta sizzled from the minute she walked onstage. Fiery with red hair and a burnt rust dress to contrast with everyone else’s black, Ms. Miller was the epitome of “girls just want to have fun,” succumbing quickly to Stuart Neill’s Alfredo. Their first act duet showed dynamic variety from both singers, and the mood of the duet changed both audibly and visually as Violetta was lured into Alfredo’s web. In Violetta’s showcase aria, “Sempre libera,” Ms. Miller skipped effortlessly through the coloratura with lightness and authority. . . . The most poignant scene in the opera, the one in which Germont convinces Violetta to give up Alfredo, was sung with emotionalism by Mr. [Todd] Thomas and Ms. Miller”
Town Topics

“As Violetta, soprano Meagan Miller displayed a good technique and a strong voice, delivering the famous first-act aria ‘Sempre libera’ with full abandon after climbing on top of a table. Miller was also effective dramatically, without resorting to coughing fits to telegraph her fate.”
The South Florida Sun-Sentinel

As Carlisle Floyd’s Susannah:

“Meagan Miller, who played the lead, is a soprano of note and is likely to be a major singer in the future. . . . Miller sang and acted the role of Susannah with operatic maturity. She sang her arias, both poignant and lyrical outpourings, with beauty of tone and a rare vocal control in the upper register. Her voice has a rich velvety sheen that she is able to shade with meaning. Miller’s portrayal of this betrayed heroine was wrenching. Eugene Opera this season has presented excellent leading sopranos, but Miller stands out among these.”
The Eugene Register-Guard

As Marguerite in Gounod’s Faust

“Tall, blonde (wigged) Meagan Miller is the type of soprano marketing departments love: her physically striking Marguerite was comfortable and effective onstage . . . . The jewel song showcased some agility, and she showed increasingly impressive vocal strength and tonal shine for the Church and Prison scenes.”
Opera News

“Soprano Meagan Miller is a stunning Marguerite, filled with vitality and grace. She commands Act II with the storybook song ‘The King of Thule’ followed by ‘The Jewel Song’”
The Syracuse Post-Standard

“The Marguerite of Meagan Miller was beautifully sung and displayed a fine command of coloratura in the 'Jewel Song.'”
The Ithaca Journal

As Musetta in Puccini’s La Boheme:

“The Musetta of newcomer Meagan Miller is tall and beautiful, with a voice that fills the hall, and a very strong presence; she is amusing at Momus and touching at the death of her friend.”
Montreal La Presse

“[Mimi] contrasted nicely with the plush soprano of Meagan Miller as Musetta.”
The Montreal Gazette

As Fiordiligi in Mozart’s Cosí fan tutte:

“Meagan Miller, as the less flighty sister Fiordiligi, sang her difficult showstopper ‘Come scoglio’ with great agility and style, and some quite beautiful half-octave runs.”
The Ithaca Journal

“Miller’s strong, heroic soprano and powerful delivery made for some memorable moments, but none as convincing as her show-stopping aria ‘Per pieta’ – in which her deep sensitivity and great command of dynamics, coupled with her technical brilliance, combined to great effect.”
The Syracuse Post-Standard

As Donna Elvira in Mozart’s Don Giovanni:

“Meagan Miller was a zesty Donna Elvira, the hassled lady of many moods, with a big voice and warm, animated delivery.”
San Francisco Online

As Rosalinda in Johann Strauss’ Die Fledermaus:

“Soprano Meagan Miller sang Rosalinda, bringing the part to life with both her warm voice and her well-delivered spoken lines. Miller’s broad, pseudo-dramatic interpretation of this role made it much more interesting than is often the case with the character. Her difficult second-act aria, the Hungarian Czardas, was lively, somewhat sensuous and yet humorous.”
The Charlottesville Daily Progress

As Constanze in Mozart’s Die Entführung aus dem Serail:

“As Constanze, Meagan Miller met the virtuosic demands of the role, her dramatic coloratura soaring to high Bs and occasional Ds with the ring of a perfectly cast bell. . . .She was in total control.”
Opera News

“Meagan Miller, a stylish young soprano, was a standout in the demanding role of Constanza, the damsel kidnapped by Gaspar. She successfully negotiated the remarkable back-to-back arias that brought down the curtain of Act I (they're in Act II of the original), going from moving lament to octave-leaping acrobatics in persuasive, charming fashion. Her spirited singing of “Give me every torture, brutal torture” — derived, roughly, from “Martern aller Arten” — was a showstopper, with perfectly secure intonation, clear articulation and thrilling coloratura.”
Opera News

“Despite such demands, the vocalists of Abduction! handled the difficult arias and passages with dexterity at Friday night’s performance, almost making them sound easy. . . . . Meagan Miller and John Osborn, as the lovesick couple Constanza and Belmonte, gave technically flawless musical performances. . . . [Ms. Miller’s] voice floated over the orchestra’s vibrant playing as she sang the contemplative arias with beautiful ease.”
The Orlando Sentinel

“As Konstanze, Meagan Miller has the equipment and support for one of Mozart’s most cruelly taxing roles.”
The Washington Times

“Meagan Miller displayed the needed heroic virtuosity, in her lengthy aria ‘Martern aller Arten’”
The Washington Post

"There was exceptionally fine singing from lyric tenor Theodore Green (Belmonte), bass Jamey Andersen (Osmin) and soprano Meagan Miller (Konstanze0.
freelibrary.com

As Donna Anna in Mozart’s Don Giovanni:

“Donna Anna was sung by soprano Meagan Miller. Her voice has a solid ring to it, and she successfully carried off the difficult role.”
The Charlottesville Daily Progress

As Laurie in Copland’s The Tender Land:

“Meagan Miller as Laurie and Theodore Green as Martin the drifter created real heat onstage, especially in their impassioned second-act duet. They were poignant characters and well-sung.”
The Minneapolis Star Tribune

“Meagan Miller has plenty of voice for her two ecstatic arias and more power than [Martin] in their love duets.”
The Saint Paul Pioneer Press